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The bottom line of online writers: the work should dare to show the children 2018-03-20

 

Many people question the quality of online works, but few people pay attention to the online writer community. One of the most feared words of online writers - "breaking more", is the meaning of intermittent updates, affecting the reader's reading experience. The second generation of Chinese net writers on the rich list of writers and fishermen introduced their own creative experiences. Even on the wedding night and his wife’s birth, he still insisted on writing. why? He said: "I found my own stage on the Internet." "I can't write without the Internet." Because I like to drink soy milk when I was young, I always add three spoonfuls of sugar, named "Tang Jia San Shao" Zhang Wei ("Sugar Plus Three The scoop "harmony" is an idol of many online writers. He believes that the author behind the Internet writers pays much more than ordinary people imagine. It is common for him to work 16 hours a day. Buying books, reading books and reading online literature is his usual hobby. The results are also enviable, publishing more than 200 books and selling 10 to 15 million books. The notable data is that the network's revenue is only less than 5% of his total income. After calculation, he found that his readers are between the ages of 8 and 25, and there are also stratifications: the adaptation of the comics is mainly for children between the ages of 8 and 12, and the children between the ages of 12 and 15 like to buy paper books. Others are read online. Many people criticize the content of online literature in the phenomenon of low vulgarity and low quality. How to judge whether online literature is good or bad? "Things you write yourself should dare to show your children that positive energy can last for a long time." Tang Jiasan proposed the standard of online literature, which is the bottom line of online writers. From youth subculture to integration into mainstream culture, online literature is growing and is gradually receiving official attention. In the past five years, the Chinese Writers Association has recruited 165 online writers to join the conference, accounting for about 7% of new development members. At the Ninth National Congress of the Chinese Writers Association, Tang Jiasan was elected as a member of the Presidium. However, some people still don't see online literature, and think that online literature always talks about money, too vulgar! Some even say that online literature is controlled by capital, unlike traditional literature that can enlighten people. Tang Jiasan responded to this. China’s online literature has gone abroad, telling the story of China. If literary creators avoid economics and do not have the support of capital, it is very difficult for a large number of online literature to go abroad. Statistics show that as of the end of 2016, the scale of China's online literature market has reached 9 billion yuan, and the industry scale has maintained an annual growth rate of more than 20% since 2012. In 2017, iResearch released the "White Paper on Chinese Internet Literature", which shows that from the exporting countries, from the initial Southeast Asia to Japan and South Korea, and later to the United States, Britain, France, Russia, Turkey and other European and American regions. At present, China's online literature has been published in more than 20 countries and has been translated into English, Korean, Thai, Japanese and other languages. From the perspective of type, the types of fantasy, Xian Xia, history, romance and so on occupy the majority of overseas web texts, and with its unique entertainment and "cool" sense, it is popular among many overseas readers. Among the current overseas web users, the student group accounted for 52.9%. From the academic point of view, the undergraduate and above readers are 51.4%, the specialists and the following readers are 48.6%, and the degree of academic differences is relatively low. In terms of geographical distribution, the region with the highest proportion of users is Europe, followed by North America, with 29.8% and 27.7% respectively. The top five readers are the United States (20.9%), Brazil (7.4%), India (6.7%), Canada (5.5%) and Indonesia (5.4%). At present, the total number of overseas English web users is about 7 million+. Xia Lie, a young critic in China, suggested that online literature is popular among young people. Youth subculture has become the background of mainstream culture. He believes that the evaluation of online literature cannot be killed by a stick. Like the previous martial arts novels, young people are particularly fond of watching. The reason is that they meet the human needs of being open and unrestrained. He stressed that social managers must not ignore this. Why can we grow online literature on the soil of China? Xia Lie analyzed that foreign intellectual property protection is deeply rooted in people's hearts and more accustomed to paper publishing. Because of the coincidence, China's online literature has undergone barbaric growth and is combined with capital operation. This is a combination of folk wisdom. This is a kind of Chinese creation, and it is a good idea to respect the people's creation. He Ping, a professor at the College of Liberal Arts of Nanjing Normal University, said that many times, our critics accuse the average reader of being a "likes of the hand", while the other side can't put down the body to go down and criticize more than "like". They also do not see that the most timely and effective criticism of Chinese literature is not in the traditional literary journals and professional criticism publications, but in the "Douban" group. There is such a phenomenon. Some critics are not prepared for reading before the online literature review. It is common to not read the novel. Because a network of literature is a million words, the former part is not very exciting. As the author gets better, the latter part is more fluid. He Ping insists that online literature cannot extract aesthetic dogma from traditional literature. Are network literature and traditional literature mutually exclusive? Traditional literature is popular. The May Fourth Literature has never opposed popular literature, and online literature is also popular. Therefore, popular can not be used as a recognition indicator of online literature. He believes that online literature is online literature, which is incomprehensible to traditional literature. The great contribution of network literature to Chinese literature is the opening of the type literature. It is worth noting that he also suggested that online literature should have a bottom line in terms of values. This article has become a consensus, both authors and critics. For the vulgar network literature, a consensus has been formed. Where is the direction of online literature? Huang Zhiqiang, a veteran of network literature, has been engaged in this field since 2003: "There will be a day when the quality of online literature will be defeated. The writers after fame will definitely demand their own works. Don't worry, give online writers. A little time.” Internet literature and traditional literature, whoever wins or loses may not matter, one side is classic, the other side is the market, the writer San Lingjun stabbed: “Traditional literature and online literature will one day be merged, one day, now The network literature is traditional literature, and online literature should be encouraged to be as good as other literature."